High Renaissance, Italy The High Renaissance is the climax of Renaissance art and it lasted from 1500-1525. This was the period when painting reached its peak of technical mastery. Almost every great High Renaissance artist went to Rome either to work on some project for the popes or the nobility. The High Renaissance artists achieved the ideal of harmony and balance used by the classical Greek and Roman artists. The most notable artists of the High Renaissance are Leonardo da Vinci, Michelangelo, and Raphael.

High Renaissance Leonardo da Vinci Leonardo is the perfect example of the "Renaissance man" because he was an expert in many different subjects: literature, science, mathematics, art, architecture, engineering, and anatomy to name a few. His paintings, particularly The Last Supper, the Mona Lisa, and The Madonna of the Rocks, have made him famous. The unique way he handled light and shadow(chiaroscuro) is one of the characteristics that made these paintings so famous. His genius as an artist and inventor continues to inspire artists and scientists alike centuries after his death.

Leonardo Da Vinci the renaissance man and one of the most famous artists in the world was also an incredible inventor. Eight Barrelled Machine Gun The ornithopter flying machine was never actually created. It was a design that Leonardo DaVinci made to show how man could fly. Some experts say that the modern day helicopter was inspired by this design. Armoured Car

Leonardo da Vinci, Mona Lisa, 1503-1506, Oil on panel High Renaissance Leonardo da Vinci, Mona Lisa, 1503-1506, Oil on panel

Leonardo da Vinci, Mona Lisa, 1503-1506, Oil on panel High Renaissance Leonardo da Vinci, Mona Lisa, 1503-1506, Oil on panel

Leonardo da Vinci, Mona Lisa, 1503-1506, oil on panel Mona Lisa is the most famous portrait of all time. It is believed to be Lisa, wife of Francesco del Giocondo. Mystery surrounds this painting There are no hard lines (a technique of painting known as sfumato—"smoke"), a soft light or haze seem to cover the painting. The most striking feature of the painting is the sitter's ambiguous half smile. She looks directly at the viewer, but her arms, torso, and head each twist slightly in a different direction, conveying a sense of movement. Leonardo explores the possibilities of oil paint in the soft folds of the drapery, texture of skin, and contrasting light and dark (chiaroscuro). The deeply receding background, with its winding rivers and rock formations, is an example of Leonardo's personal view of the natural world: one in which everything is filled with movement and energy. High Renaissance

Leonardo da Vinci, Mona Lisa, 1503-1506, oil on panel

Chiaroscuro Leonardo made a scientific study of light and shadow in nature. It dawned on him that objects were not comprised of outlines, but were actually three-dimensional bodies defined by light and shadow. Known as chiaroscuro, this technique gave his paintings the soft, lifelike quality that made older paintings look cartoony and flat. He also saw that an object's detail and color changed as it receded in the distance. Lady with an Ermin Leonardo da Vinci 1483-1490.

Ideal Proportions Leonardo studied nature and anatomy which was evident from his stunningly realistic paintings. He dissected the human body to create remarkably accurate figures. He was the first artist to study the physical proportions of men, women and children and to use these studies to determine the "ideal” human figure. Leonardo da Vinci's "Mona Lisa," on display at Paris' Louvre Leonardo, Vitruvian Man, c. 1490, Ink

Ideal Proportions

Leonardo da Vinci, The Last Supper High Renaissance Leonardo da Vinci, The Last Supper 1495–1498, tempera wall mural

Leonardo da Vinci, The Last Supper High Renaissance Leonardo da Vinci, The Last Supper 1495–1498, tempera wall mural Leonardo's Last Supper was painted on the wall of the of Santa Maria delle Grazie in Milan. Despite its ruined state, the painting is extraordinarily impressive in both form and emotion. Christ and the apostles are celebrating Passover. The painting shows the moment just after Christ tells his apostles that one of them will betray him. The intense shock and emotion is clearly visible. Christ's head is at the center of the composition, framed by a halo-like architectural opening. His head is also the vanishing point toward which all lines of the architectural setting converge.

David Lachapelle. Last Supper (Jesus is my Homeboy), 2003

Michelangelo High Renaissance Michelangelo was recognized by his contemporaries as “the greatest man ever known to the arts,” Michelangelo dominated the High Renaissance. In sculpture, architecture, and painting he was so outstanding that he was called divine. He became fascinated with the problems of representing the human body, and he devoted himself completely to mastering them.

Michelangelo, David, marble, 1501-04, 14’ High Renaissance Michelangelo, David, marble, 1501-04, 14’

Michelangelo, David, marble, 1501-04 High Renaissance Michelangelo, David, marble, 1501-04 Michelangelo sculpted David from an enormous block of marble. Michelangelo’s David stands 14 feet tall Huge in size and superhuman in muscular perfection The heroic David’s head is turned with a stern expression and he holds a stone in his large hand ready for Goliath Michelangelo clearly influenced by the classical nude-admired Greek/Roman statues

Michelangelo, David, 1501-04, marble, 14’ Compare and Contrast Donatello, David, 1430-1432, Bronze, 62¼“ Michelangelo, David, 1501-04, marble, 14’

Michelangelo, David, 1501-04, marble, 14’ Compare and Contrast Unlike Donatello’s David, Michelangelo portrayed David before the battle with Goliath, as he sternly watches his gigantic foe Michelangelo’s David is showing emotion and is about to move into action much like the Hellenistic sculptures of ancient Greece. Donatello, David, 1430-1432, Bronze, 62¼“ Michelangelo, David, 1501-04, marble, 14’

Michelangelo's David (suicide bomber) Banksy Michelangelo's David (suicide bomber)

Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco High Renaissance Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco

Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco High Renaissance Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco

Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco High Renaissance Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco The Libyan Sibyl, a mythological being who could see into the future

Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco High Renaissance Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco Prophet Ezekiel from the fresco on the Sistine Chapel.

Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco High Renaissance Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco Michelangelo was chosen by Pope Julius II to paint the ceiling of the Sistine Chapel in St. Peter's. Michelangelo protested at first, saying that he was a sculptor, not a painter. He finally began the project and worked on it feverishly. He had many challenges to face: the curved ceiling is 5, 800 sq feet and 70’ above the ground Michelangelo constructed a unique scaffolding system to paint the ceiling. The scaffolding curved at its top, Michelangelo often had to bend backwards and paint over his head - an awkward position which made his neck and back ache, his arms burn painfully and, according to him, permanently screwed up his vision.

Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco High Renaissance Michelangelo, Sistine Chapel ceiling, Rome, 1508-12, Fresco It took Michelangelo 4 years to finish the fresco. The overpowering 300 figures on the Sistine ceiling tell the story of man from his creation to his fall according to the Bible. The ceiling is considered by many to be the greatest single work of art ever created by one man. The completion of the ceiling and its thousands of details was a superhuman achievement Michelangelo focuses on the beauty, power, and spirituality of the human form. His painted figures have a sculptural quality

High Renaissance Michelangelo, Creation of Adam, detail of the Sistine Chapel ceiling, Rome, 1511-12, Fresco

Raphael High Renaissance The spirit of the High Renaissance reached its peak in the work of Raphael. Raphael’s paintings are masterpieces of balance and harmony. 
They combine the sculptural quality of Michelangelo, and the grace and feeling of Leonardo. Raphael’s many paintings of the Madonna and Child display his characteristic human warmth, serenity, and sublimely perfect figures.

Raphael, School of Athens 1510-1511, Fresco, Rome High Renaissance Raphael, School of Athens 1510-1511, Fresco, Rome

Raphael, School of Athens 1510-1511, Fresco, Rome High Renaissance Raphael, School of Athens 1510-1511, Fresco, Rome The "School of Athens" is 1 of a group of 4 fresco paintings on the walls of Pope Julius II‘s library. The frescoes depict themes of knowledge. The figures exemplify Philosophy, Poetry, Law and Theology. The School of Athens represents Philosophy.

Raphael, School of Athens High Renaissance Raphael, School of Athens 1510-1511, Fresco, Rome Raphael’s School of Athens perfectly embodies the spirit of the High Renaissance The scene takes place in classical times (ancient Greece) The painting is a gathering of the great thinkers, philosophers, and scientists The School of Athens represents the truth acquired through reason. All the philosophers shown worked hard to understand knowledge and its causes. This masterpiece was painted by Raphael when he was only 27 yrs old

Raphael, School of Athens High Renaissance Raphael, School of Athens 1510-1511, Fresco, Rome The two main figures, Plato (Leonardo da Vinci) and Aristotle, are deep in conversation in the center Some of the ancient philosophers have the faces of Raphael's fellow artists. Leonardo is shown as Plato. Michelangelo, sitting on the stairs and is represented as Heraclitus. Raphael includes himself at the extreme right, with a dark hat

Raphael, School of Athens 1510-1511, Fresco, Rome High Renaissance Raphael, School of Athens 1510-1511, Fresco, Rome The sculptural quality, individual poses and the grouping of the figures in an architectural setting are influences of Michelangelo who was painting his ceiling only a few yards away.

Raphael, School of Athens High Renaissance Raphael, School of Athens The balance and composition are reminiscent of Leonardo’s Last Supper.

Raphael, School of Athens 1510-1511, Fresco, Rome High Renaissance Raphael, School of Athens 1510-1511, Fresco, Rome The architectural perspective leads the viewer’s eyes to a vanishing point between the heads of Plato and Aristotle

Raphael, The Alba Madonna 1510, Oil High Renaissance Raphael, The Alba Madonna 1510, Oil

Raphael, The Alba Madonna 1510, Oil High Renaissance Raphael, The Alba Madonna 1510, Oil Leonardo da Vinci